Scientific work on the topic: "metaphors in the stories of Arthur Conan Doyle and Somerset Maugham." Comparative constructions in the works of W.S.

INTRODUCTION

One of the most important accesses to the conceptual picture of the world is provided by metaphor. The great importance of metaphor lies in its use in works of art. The text of a work of art is a completely special material. As many scientists emphasize, natural language is only a building material for a literary text. The background knowledge of the reader plays a major role in the perception of a literary text. A work gives rise to various associations in the reader’s mind, which are set both by the text itself and by the reader’s experience. There is not a single author who would not use metaphorical transfer in order to describe characters, various phenomena and actions in vivid colors. The stories of Arthur Conan Doyle and Somerset Maugham are no exception.

Many modern and foreign linguists have studied metaphor. For example, I.V. Arnold, in his work “The Stylistics of Modern English,” provides information about verbal means - all types of figurative use of words, phrases and phonemes, uniting all types of figurative names with the general term “tropes”. Figurative means are used for description and are predominantly lexical. According to I.V. Arnold, this includes such types of figurative use of words and expressions as metaphor, metonymy, hyperbole, irony, litotes, periphrasis, etc. .

Among the Russian researchers of metaphor as a special artistic trope, let’s name V.K. Kharchenko, G.N. Sklyarevskaya and others.

Relevance work is due to the lack of scientific research in which the metaphors of A. K. Doyle and S. Maugham are compared and classified according to the classificationG.N.Sklyarevskaya, and the structural and semantic role of metaphor is clarified.

The practical part of the work was based on the stories of Arthur Conan Doyle and Somerset Maugham. Our choice is not accidental, since the work of Arthur Conan Doyle and Somerset Maugham has not been sufficiently studied.Novelty Our research consists in the fact that for the first time a classification and comparison of the structural and semantic role of metaphors of British writers of the 19th century Arthur Conan Doyle and Somerset Maugham is carried out according to the classification of metaphors by G.N. Sklyarevskaya.

Target scientific work: summarize information about metaphor as a structural-semantic unit, classify and compare metaphors according toG.N. Sklyarevskaya from the stories of A. K. Doyle and S. Maugham.

To achieve the goal, we set the followingtasks:

Determine the extent to which this issue has been studied in critical literature;

Find out what a metaphor is;

Establish the main classifications of metaphors;

Classify metaphors from different stories by Arthur Conan Doyle and Somerset Maugham according to G.N. Sklyarevskaya;

Compare the number of metaphors of A. K. Doyle and S. Maugham of one semantic type or another, find out which type dominates.

Object of study: stories by Arthur Conan Doyle and Somerset Maugham.

Subject of study: metaphors in the stories of Arthur Conan Doyle and Somerset Maugham.

Hypothesis : using the classification of metaphors according to G.N. Sklyarevskaya in the works of Arthur Conan Doyle and Somerset Maugham the group “object - physical world” predominates. Metaphors of the groups “physical world – mental world” and “subject – mental world” are characteristic of the works of Ernest Hemingway, the group “subject – mental world” - the stories of Somerset Maugham.

SECTION 1

THE ROLE OF METAPHOR IN THE MEANING OF A LITERARY TEXT

SECTION 2 METAPHORS IN THE STORIES OF ARTHUR CONAN DOYLE AND SOMERSET MAWHAM

3.1 Classification of metaphors from the stories of A. C. Doyle

One of the most important accesses to the conceptual picture of the world is provided by metaphor. As a cognitive phenomenon, metaphor refers to the conceptual picture of the world, “providing” it with ways of seeing and knowing things that are, as a rule, little studied or inaccessible to direct observation. Therefore, studying the systematic nature of metaphorical transfers within various spheres of experience allows us to immerse ourselves in the structure of human thinking and thus understand how we imagine the world around us and our place in it. Metaphor can be considered as a tool for exploring the picture of the world. All phenomena of the real world cover both material and ideal entities involved in the process of metaphorization, while the metaphorical transfer is carried out in certain directions in a fairly clear sequence. Such transfers are called regular.

Let us present and classify examples of metaphors from the stories of Arthur Conan Doyle from the point of view of structural-semantic analysis developed by G.N. Sklyarevskaya. There are eight types of regular metaphorical transfers.

SUBJECT → SUBJECT, he makes up 10%. (Appendix A)

For example:

1) yourdamnedmoneywasmyarmor- your damn money was my weapon;

2) money was now his light - money was now the light for him;

3) it twinkled like an electronic point in a dark hollow of his hand – stone glowed on the dark palm like an electric spark ;

4) the breath of the passers by blu … out into smoke like so many pistol shots – the steam from the breath of passers-by was similar to the smoke from pistol shots ;

5) beg that you will look upon it not as a battered billycock but as an intellectual problem – hat... as an object , fraught with a serious problem .

OBJECT → PERSON, he makes up 4% . (Appendix A)

For example:

1) had his eye on a goose - got his eye on the goose ;

2) their faces said very plainly - it was clearly written on their faces.

ANIMAL → MAN, near 8% . (Appendix A)

For example:

she is drinking like a fish – she drinks , like a fish ;

the butler and I hiding in the bushes like two rabbits - the butler and I were hiding in the bushes like two rabbits;

aface like a rat - rat face ;

horsey-looking man - a man with a horse's face.

MAN → MAN, amounts to 8%. ( Appendix A)

For example:

he is a gentlemen of honor – he is a gentleman of honor ;

hebowedwithacomicalpomposityofmanner– he bowed with a comically solemn look;

hehasaneasyair– y he looked casual;

he takeeverythingtoheart– he takes everything to heart.

SUBJECT → PSYCHIC WORLD , is 27%. (Appendix A)

For example:

a grim smile – gloomy smile ;

silent thoughts - silent thoughts ;

melancholy face- melancholy face;

hestayed in silent surprise – stand in silent surprise ;

strongface– strong-willed person;

angry eyes- evil eyes ;

he looked deeply chagrined – he looked deeply distressed;

quavering voice – trembling voice;

excited face – excited face;

10)cry of dismay – cry of despair ;

11) happytears– happy tears (tears of happiness);

12)drown face – distorted face ;

13)a sign of relief – lightweight sigh ;

14)puzzled face – puzzled view .

SUBJECT → PHYSICAL WORLD, 10%. (Appendix A)

For example:

1) thatmakes the time pass – makes time go faster ;

2) question provoked ... of anger - question infuriated ;

3) so pretty a foy would be a purveyor to the gallows and the prison - such a beautiful trinket leads people to prison and to the gallows ;

4) he looked as if he had seen the devil himself – he looked like this , as if I saw the devil himself ;

5) the honest trainer showed very clearly upon his face – the face of the honest coach expressed .

Metaphors of this type make the actions of the characters and the environment more expressive.

PHYSICAL WORLD → MENTAL WORLD, 27%. (Appendix A)

For example:

looked impatiently - impatiently watched ;

he gave her a lot of trouble – hecaused her a lot of trouble;

he did queer things - hedid strange things;

his money-lenders will tear him into pieces - his moneylenders will tear him to pieces ;

he looked as if he had seen the devil himself – he looked like this , as if I saw the devil himself ;

it came into my head –it came to my mind;

he was at the hands of fortune – he was in the hands of fortune ;

they followed up this clue while it is still hot – they went in hot pursuit ;

Does the name tell you anything? – does this name tell you something?

10) don" twanttohurtyouwithmywords- I didn’t want to hurt you with my words;

11) in deep thoughts - in deep thought ;

12) to bring the facts to light – shed light on events ;

13)our footfalls rank out crisply and loudly – ours the steps sounded loud and clear ;

in the larger and older jewel every face may stand for a blood deed – in large and old stones, each face can tell about what - some bloody crime .

This type of metaphor reveals the mental state of the characters.

SUBJECT → ABSTRACT, he makes up 6% . (Appendix A)

For example:

we have a line of investigation that has place in our hands – we have a line of investigation in our hands I;

put ideas into her head - an idea came to her head;

secret of her heart - the secret of her heart .

We found that the largest number of metaphors in the English-language works of A. K. Doyle is observed in the groups “Subject - Mental World” and “Physical World - Mental World”. The reasons for this phenomenon are justified by the individual style of the author.

In the works of A. K. Doyle, metaphor colorfully reflects reality, characterizes the characters, and adds expressiveness and originality to the author’s artistic world. Thanks to metaphors, dry abstraction is enlivened, and A. K. Doyle expressively describes abstract objects and phenomena, location in space and time.

3.2 Classification of metaphors from S. Maugham’s stories

Let us present and classify examples of metaphors from the stories of S. Maugham from the point of view of structural-semantic analysis developed by G.N. Sklyarevskaya. There are eight types of regular metaphorical transfers.

The first type of metaphorical transfer that we distinguish is transferSUBJECT → SUBJECT, he makes up 4% . (Appendix B)

For example:

1) hisskinwasanoldsuittoolargeofhim– his skin was an old suit that was too big for him;

2) a little smoke was the life of man – a little smoke was a man's life .

The second type of regular metaphorical transfer isOBJECT → PERSON, he makes up 18% . (Appendix B)

For example:

1) theywerepuppetsinatoytheater– they were puppets in a puppet theater;

2) the currents ... were more than he could manage – the currents were too much for him ;

3) words from Louise’s lips – good words from Louise ;

4) people were the old house – people were an old house ;

5) she (woman) isadoll– she (the woman) looks like a doll;

6) the human race isdrops of water - all people around the world are drops of water;

7) she genius for friendship - she is brilliant for friendship;

8) you felt that he would not hurt a fly – you thought , that he wouldn't hurt a fly ;

9) he has an instinct about the cards – he had an instinct for cards .

The third type of regular metaphorical transfer is transferANIMAL → MAN, near 4% . (Appendix B)

For example:

1) I"m too old a dog to learn new tricks - I’m too old a dog to learn new tricks;

2) he (the man) was a wolf – he was a wolf .

The fourth type of regular metaphorical transfer isMAN → MAN, amounts to 4%. (Appendix B)

For example:

1) hewasalittlebitanactor– he was a bit of an actor;

2) aristocratic features - aristocratic appearance.

The fifth type of regular metaphorical transfer isSUBJECT → PSYCHIC WORLD , is 25%. (Appendix B)

For example:

1) good-humored face - a friendly face;

2) ahappysmilespreadoverhisbroadface– a happy smile lit up his face;

3) he had quitе dry humor - he had a fairly dry sense of humor;

4) mild blue eyes – soft blue eyes;

6) his smile was kind - his smile was good;

7) little mild chuckle – a small soft chuckle;

8) kind blue eyes – kind blue eyes;

9) large and melancholy eyes – large and melancholy eyes;

10) shrewd smile – sly smile;

11) her face was dead white - her face was deathly white;

12) her eyes were hard and angry – her eyes were heavy and angry ;

13) his heart was heavy – my heart was heavy .

The sixth type of regular metaphorical transfer is transferSUBJECT → PHYSICAL WORLD, 21%. (Appendix B)

For example:

1) his skin hung on his bones - his skin hung on his bones;

2) my heart sank a little - my heart skipped a beat ;

3) my mouth had often watered at the sight of them - saliva started running ;

4) my shoulders fly high in the sky – my shoulders fly high into the sky ;

5) to do one's bit - to contribute ;

6) e xamined him - studied it ;

7) it sets your teeth on edge - it sets teeth on edge ;

8) hypocrisy ... is adultery or gluttony be practiced at spare moments it is a whole time job - hypocrisy is adultery and gluttony ;

9) to keep body and soul together - make ends meet ;

10) sun flooded the narrow river – the sun flooded the narrow river ;

11) a little smoke lost in the air - a little smoke melted into the air .

The seventh type of regular metaphorical transfer is transferPHYSICAL WORLD → MENTAL WORLD, 12%. (Appendix B)

For example:

1) panic sized me - panic gripped me;

2) to deep in my sad thoughts - plunge into your sad thoughts;

3) he was down and out - he was on the verge of despair;

4) he sighted deeply - he looked soulfully;

5) you could not imagine that he could raise it in anger - you could not imagine that he could raise his anger

6) death...huvied through the streets - death hurried through the streets .

The eighth type of regular metaphorical transfer is transferSUBJECT → ABSTRACT, he makes up 12% . (Appendix B)

For example:

1) how time flies - how time flies;

2) restfultothespirit- calm soul;

3) shewasatdeath" sdoor- she was on the verge of death;

4) theywouldnotletherstirafinger- they wouldn't let her lift a finger;

5) far beyond my means - I can’t afford it;

6) it towered the stronghold of a cruel and barbaric race, over the river - she hung over the river firmament of the cruel ruler of the barbarian tribe .

We found that the largest number of metaphors in S. Maugham’s English stories is observed in the “Subject - Mental World” group. The reasons for this phenomenon are justified by the individual style of the author.

In his stories, metaphor expresses the author’s subjective attitude to the surrounding reality, serves to characterize the characters, adds exceptional expressiveness to the author’s artistic world, conveying thoughts through sensory images, thereby reviving dry abstraction and making it closer to the reader.

The author raises in his stories many problems that deeply concern the writer himself, among which is the problem of relationships between people, an individual with himself and the world around him. The reader looks for a solution to these problems directly in the text, and metaphors play an important role in this.

CONCLUSIONS

As a result of the study, all assigned tasks can be considered completed. Namely: we have defined what a metaphor is; established the main types (classification) of metaphors; studied and classified metaphors from various works of A.C. Doyle and Somerset Maugham according to G.N. Sklyarevskaya; compared the number of metaphors by A. K. Doyle and S. Maugham of one semantic type or another, and found out which type dominates.

Accordingly, the following conclusions can be drawn:

Metaphor is a hidden comparison that is made by applying the name of one object to another and thus reveals some important feature of the other.

In addition, classifications of metaphors and metaphorical transfers were considered: simple, expanded (extended), poetic, traditional, compositional, plot; from the point of view of structural-semantic analysis, metaphor is classified into the following groups: object - object, object - person, animal - person , person - person, object - mental world, object - physical world, mental world - physical world, object - abstraction (according to G.N. Sklyarevskaya). It is according to G.N. Sklyarevskaya that metaphors from the stories of A.K. Doyle and S. Maugham are classified in the practical part.

We found that in the works of A. K. Doyle, the highest percentage of metaphors are made up of metaphors from the groups OBJECT → PSYCHIC WORLD and PHYSICAL WORLD → PSYCHIC WORLD - 27%. These metaphors describe human actions and emotions in more detail, colorfully, deeply and expressively; they allow us to reveal the state of the heroes, their desires and feelings. And in the group MAN→ MAN – the smallest amount is 4%.

We have determined that in the works of S. Maugham the groups OBJECT → MAN and OBJECT → PHYSICAL WORLD make up a high percentage of metaphors. These metaphors allow the author to make the characterization of the hero more detailed and vivid. Metaphors of this type make the actions of the characters and the environment more expressive. In the group SUBJECT → PSYCHIC WORLD, the largest number of S. Maugham’s metaphors can be traced – 25%. The groups OBJECT→OBJECT, ANIMAL→HUMAN and PERSON→HUMAN contain the smallest number of the author’s metaphors; they account for 4% of all metaphors.

It should be noted that both authors use metaphorsto create in the reader a figurative idea of the characters, which, in turn, leads to a deeper and more complete understanding of the author’s intention and de-objectification of the meanings of the text.However, S. Maugham describes in more detail clear, specific objects and people, and A. K. Doyle expressively describes human emotions, feelings, the state of the characters, their behavior. It follows from this that S. Maugham and A. K. Doyle have their own individual author’s style, which helps add bright colors to their works, and the writers’ works are unique.An individual author's metaphor always contains a high degree of artistic information content, since it removes the word (and the object) from the automaticity of perception, since without the metaphorical richness of an artistic text it is impossible to create associative artistic images in the reader, without which, in turn, it is impossible to achieve a full understanding of the meanings of the text.

LIST OF REFERENCES USED

Dukhnova Anastasia

This is a research paper by a 9th grade student exploring the stylistic devices used by W.S. Maugham in a literary work, proving that it is the use of morphemes that makes this work unforgettable. As a result of the work, it is recommended that this work be studied in schools where English is studied to a slightly greater extent than in regular schools.

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Stylistic analysis of the work by W.S. Maugham. Metaphors

Author of the work:

Dukhnova Anastasia Andreevna Krasnodar region, Dinskoy district, private secondary school No. 1st. Novotitarovskaya,

9th grade

Supervisor :

Moroz Elena Vladimirovna,

English teacher, CHOU Secondary School No. 1, Art. Novotitarovskaya

Introduction………………………………………………………………………………..….3

Stylistics of the English language………………...…………………...........................4-8

The essence of stylistic analysis of the text…………………......4-5
Stylistic techniques and expressive means of the English language………………………………………………………...……….5-8

Stylistic analysis of the story by W.S. Maugham “Due to Circumstances” .........8-11
Metaphors as a means of expression in the story by W.S. Maugham “Due to Circumstances”……………………………………………………………..…..….11-15

3.1. Definition of metaphor………………………….…………………………11

3.2. Classification of metaphors……………………………………………………..….…12-13

3.3. The difference between metaphor and simile………………………..………....14

3.4. Analysis of metaphors in the story “Due to Circumstances”.................................................14-15

Conclusion……………………………………………………………………………….…16

References……………………………………………………………..……….….17

Applications………………………………………………………………………………….…………..18-21

Appendix 1. The most popular metaphors in the English language……………………………………………………………………………………..…18-19

Appendix 2. Excerpt from a newspaper article (visual use of metaphors)……………………………………………………………………………………….……20

Appendix 3. Life and work of U.S. Maugham (short biography)…….…..21

Appendix 4. Questionnaire………………………………………………………21-22

Introduction

Acquaintance with the best images of English poetry and prose, the ability to thoughtfully read and understand fiction in the unity of content and form contribute to the comprehensive development of the individual, the formation of a person’s spiritual world, and the creation of conditions for the formation of his internal need for continuous improvement and the realization of his creative potential. One of the most common methods of realizing associative connections between words is the use of color and sound symbols - most often in the form of epithets, metaphors and comparisons - in accordance with the traditions and ideas existing in the collective consciousness of a particular linguocultural community. In this regard, it is interesting to consider the metaphorical images in the work of the author, who created a vivid and believable image of his time.

Relevance of the topicis determined by its theoretical and practical significance for modern research, both in linguistics and in other scientific fields. The practical significance of the work lies in the fact that its results can be used in such scientific and educational disciplines as lexicology, stylistics, text linguistics and others.

For my work, I chose the story “The force of circumstance” by William Somerset Maugham. In the book you can feel the observation of a psychologist and the hand of a master, first of all, a master of the English language, a master of such a level that you need to learn the language from his books. For those who study England, its language, culture and politics, “The force of circumstance” and other works by Maugham will serve as a good help.

Subject of study– stylistic devices and means of expression in the story “Due to Circumstances” by S. Maugham

Purpose of the study– conduct a stylistic analysis of the story “Due to Circumstances” by S. Maugham

Tasks:

Consideration of the essence of stylistic text analysis

Determination of functional characteristics of visual and expressive means

Conducting a stylistic analysis of S. Maugham’s story “Due to Circumstances

Identification of metaphors in the work of W.S. Maugham “Due to circumstances” and their analysis.

Is using metaphors really a necessary part of writing?

Research methods for this work:

Stylistic: analysis, synthesis, comparison, generalization.
Empirical: survey.

Hypothesis: A literary work could be written without the use of metaphors.

Stylistics of the English language

The essence of stylistic text analysis

Stylistics, unlike linguistics, studies not the units of language, but their expressive potential.

Stylistics and lexicology.

A word can express a subjective (positive or negative) attitude or assessment of the speaker in relation to the object, phenomenon, quality, or action that it names. That is, the word acquires a certain emotional and evaluative connotation, which is the sphere of stylistics.

Stylistics studies the expressive resources of the vocabulary of a language, studies all possible stylistic implications, the principles of the use of words and combinations of words in their expressive function.

Stylistics and phonetics.

Phonostylistics (sound stylistics) shows how individual sounds, combinations of sounds, rhythm, intonation, etc. can be used as expressive means and stylistic devices in order to most fully realize the author's meaning.

Stylistics and grammar.

Grammatical stylistics considers grammatical phenomena as expressive linguistic means that add various emotional and stylistic colors to the statement, individual grammatical forms, as well as higher-level units into which individual sentences are combined.

Stylistics is often tasked with:

Study of expressive resources of various means (vocabulary, phraseology, morphology, phonetics).
Description of a particular national form, both from the inside and outside, in comparison with other national forms.

The essence of stylistic analysis of English text is in many ways similar to Russian. Below is an approximate diagram of the stylistic interpretation of the text.

Interpretation of the text

Brief story about the author:
Brief retelling of the story subject to stylistic analysis
Identification of the problem raised by the author
Formulation of the main (main) idea
Description of the text

story about minor characters
story about the main characters
interweaving the narrative line with the description of the characters and their dialogues
lyrical digressions in the text
fragments of a narrative line with a bit of humor (irony, satire), mockery of society, etc.

Determining the prevailing mood in the story (can be lyrical, dramatic, tragic, optimistic or pessimistic, melodramatic, sentimental, emotional, enthusiastic).
Story structure. You should break the text into logical parts and title them. If necessary, indicate the main (key) sentence in each part. The compositional parts of a story (story) can be as follows:

Introduction
The development of the plot/ an account of events
The culminating point
Denouement (the denouement/ the outcome of the story)

Detailed analysis of each logical part of the story
Formulation of your own impressions, conclusion. You should pay attention to the features of the author’s language, which give individuality to his works, making them memorable.

Stylistic techniques and expressive means of the English language

What should be understood by stylistic device?

The essence of a stylistic device cannot be a deviation from commonly used norms, since in this case the stylistic device would actually be opposed to a linguistic norm. In fact, stylistic devices use the norm of the language, but in the process of using it they take the most characteristic features of this norm, condense it, generalize and typify it. Consequently, a stylistic device is a generalized, typified reproduction of neutral and expressive facts of language in various literary styles of speech.

Let's explain this with examples.

There is a stylistic device known as maxims. The essence of this technique is to reproduce the characteristic, typical features of a folk proverb, in particular its structural and somatic characteristics. A statement - a tendency has a rhythm, a rhyme; a maxim is figurative and epigrammatic, expressing some generalized thought in a condensed form. For example:

“...in the days of old

Men made the manners; manners now make men.”

(G. Byron)

In the same way, the sentence: “No eye at all is better than an evil eye” (Ch. Dickens.) in form and in the nature of the expressed thought resembles a folk proverb. This is Dickens' maxim.

Thus, the maxim and the proverb are correlated with each other as general and individual. This individual is based on the general, takes what is most characteristic of it, and on this basis a certain stylistic device is created.

Thus, it is known that oral folk poetry widely uses the repetition of words for various purposes: slowing down the narrative, giving a song-like character to the story, etc.

Such repetitions of folk poetry are expressive means of a living folk language. Stylization is the direct reproduction of the facts of folk art and its expressive capabilities. The stylistic device is only indirectly connected with the most characteristic features of colloquial speech or with the forms of oral creativity of the people.

One can give another example of the typification of the expressive means of language and the creation on their basis of such a typification of a stylistic device.

It is known that in a language, some categories of words, especially qualitative adjectives and qualitative adverbs, can, in the process of use, lose their basic, subject-logical meaning and appear only in the emotional meaning of enhancing quality, for example: awfully, nice, terribly, sorry. In such combinations, when restoring the internal form of the word, concepts that logically exclude each other attract attention. It was this feature in a typified form that gave rise to a stylistic device called oxymoron. Such combinations as proud humility (G. Byron), a pleasantly ugly face (S. Maugham) are already stylistic devices.

Expressive means are phonetic means, grammatical forms, morphological forms, means of word formation, lexical, phraseological and syntactic forms that function in the language to emotionally intensify the utterance.

Trails (Greek tropoi) is a term of ancient stylistics denoting the artistic understanding and ordering of semantic changes in a word, various shifts in its structure. The definition of tropes is one of the most controversial issues already in the ancient theory of style. “A trope,” says Quintilian, “is a change in the proper meaning of a word or verbal expression, which results in an enrichment of meaning. Both among grammarians and among philosophers there is an insoluble dispute about the genera, species, number of tropes and their systematization.”

The main types of tropes considered by most theorists are tropes based on the use of words in a figurative meaning; Along with this, the number of tropes also includes a number of phrases where the basic meaning of the word does not change:

An epithet is a defining word when it adds new qualities to the meaning of the word being defined. For example, white frock, shady hat, old lady, great cool rooms.
Comparison (simile) - revealing the meaning of a word by comparing it with another according to some common characteristic.
Periphrasis (Greek periphrasis) is “a method of addition that describes a simple object through complex phrases.”

Unlike the tropes listed here, which are built on enriching the meaning of a word, the following tropes are built on shifts in the basic meaning of the word.

Metaphor – “the use of a word in a figurative meaning.” The classic example given by Cicero is the “murmur of the sea.” This about me, a whisper on the fringe of a crowd; it was a premonition, a blank step into the future.
Synecdoche (from the Latin intellectio) is “the case when a whole thing is recognized by a small part or when a part is recognized by the whole.” The classic example given by Quintilian is “stern” instead of “ship”.
Metonymy – “replacing one name for an object with another”
Antonomasia is the replacement of one’s own name with another, “as if by a nickname borrowed from outside.”
Metalepsis is “a replacement that represents, as it were, a transition from one trope to another.”

These are the paths built on the use of words in a figurative meaning.

Finally, a number of tropes are identified in which not the main meaning of the word changes, but one or another shade of this meaning. These are:

Hyperbole (hyperboula) - exaggeration taken to the point of absurdity
Litotes is an understatement that expresses the content of a positive phrase through a negative phrase.
Irony - expression in words of a meaning opposite to their meaning

Stylistic analysis of William Somerset Maugham's story "By Circumstance"

W. S. Maugham's short story "By Circumstance" concerns the relationship between a loving husband and wife after the truth is revealed about her husband's past life.

The author’s main idea, in my opinion, is that some people, due to their selfishness, do not consider it shameful to ruin other people’s destinies. It seems to them that in life there is first preparation, a rehearsal for something important, and then, when the main events occur, the past can be erased from memory and never addressed. Such people act due to circumstances, calmly, without thinking, float along the river of life, as they move, they throw overboard loved ones who have become unnecessary, confident that right now they are starting to live their lives to the fullest. The author strives to show that life is continuous, it cannot be used as a draft, and mercilessly cross out failed victories, lies, selfish thoughts, neglect and disrespect for people.

The story is written in third person narration. The events in the story develop according to the classical plan - beginning, development of action, climax, denouement. The story is realistic and has a gripping plot and a deep emotional impact on the reader.

Maugham, with his characteristic irony and figurative style, exposes serious human virtues and exposes vices.

The action takes place on the island of Sembulu in Polynesia, which at the time of writing the story was a colonial possession of Britain. The characters are newlyweds Doris and Guy, who dearly love each other. Guy has been in public service, continuing the work of his late father for ten years. He grew up in Sembulu, speaks the local dialect as his native language, and is well suited to his status as a representative of a colonial power. Doris, a native British woman who came to live on the island with her husband, is mastering her new role as a wife and mistress of a large house, and learning the local language. The family's way of life is typical for all people in their circle - work, home, playing tennis, reading books, hunting in the jungle. All everyday issues were resolved by servants, so life was arranged comfortably and unburdenedly.

Events begin to develop rapidly from the moment Doris realizes that a Malay woman is constantly trying to infiltrate her and Guy’s lives. After futile attempts to hide her existence from Doris, Guy is forced to admit that this woman is his former common-law wife from a Malay village, with whom he lived for 10 years. For Doris, this revelation comes as a real blow. She is especially struck by the fact that she has three children, which turns Guy’s cohabitation with the islander into a real family. Doris, experiencing sincere love for her husband and receiving mutual feelings in return, even six months after this monstrous discovery for her, cannot come to terms with the fact of the lie. She realizes that Guy does not belong to her, he belongs to his former family, children and the Malay woman, whom he does not love. This is how his life turned out due to circumstances.

The story ends with the separation of two loving people forever. Guy no longer has a choice - he remains with the same woman and with the life that he once chose due to circumstances.

Finding himself in the role of a big boss at the age of 19, the young man feels incredible loneliness, longing for communication with equal people, and not knowing where, besides service, he can put his strength. A wise local manager suggested that he let into his house a good girl from the village from a decent family, who really liked him. Of course, not forever, only for a while, until the creation of a real family, and besides, material resources made it possible to do this. And Guy decided to take this step. At that time, he could not even imagine how such a “fake” life could turn out.

Most likely, you have to pay for playing with other people's destinies with your peace of mind, constant remorse, loss of personal happiness and destruction of your own destiny. After all, there are no rehearsals in life.

The development of the plot begins from the first paragraph. The climax is logically reached through the dialogue between Guy and Doris. The denouement comes in the last paragraph. Plot elements follow each other chronologically.

She had examined him carefully and had been forced to confess to him that he had not a single feature which she could praise. She had told him often that ne was not her type at all. ‘I never said I was beauty,’ he laughed.
‘It’s a terrible thing for me to have married a woman who’s mentally defleient,’ he said.
She told him once that she had quite made up her mind to refuse him. ‘Are you sorry you didn’t?’ he asked, with a merry smile in his twinkling blue eyes.

Doris is a well-educated woman, a sensitive nature, capable of appreciating the beauty in nature and in human hearts:

Her breath was taken away by the beauty of the scene
Her eyes once grew more soft and tender

The author of the work focuses on human feelings, their relationships, actions and motives. S. Maugham’s ability to capture the nuances of the characters’ moods reflects the depth of knowledge of a person’s inner world.

The story uses a huge number of stylistic devices that make the narrative emotionally expressive and rich. Epithets, comparisons and metaphors are especially common.

Comparisons: ‘with a red face like the full moon’, ‘looked like a row of ballet- girls, dressed in white’, ‘as pleased as punch’, ‘the day advance gradually like a bitter and an overwhelming sorrow’
Epithets: 'with a merry smile in his twinkling blue eyes', 'a slightly rueful smile', 'the deliberate understatement', 'starry eyes on her race', 'a rueful smile', 'in his eyes was a hungry, troubled look' , 'its piercing cry', 'dead tired'.
Metaphors: 'a wave of emotional swept over her', 'to come in that stealthy way', 'the sky was cheerful', 'water was deliciously refreshing', 'deathly white', 'darkness closed in upon them', 'in his mouth a slight drop of anxiety', 'his quick ears', 'his face was ashy', 'eyes were cold and hostile', 'her voice broke', 'her features were all twisted and awry'.
Litotes: ‘I wasn`t exactly pleased to see her’, ‘I haven`t liked sleeping much’, ‘it was a little unfair in the circumstances’
Irony: ‘The old Sultan didn’t think it was a white woman`s country’
Oxymoron: ‘Are you happy here, darling? – Desperately
Antonomasia: ‘my poor lamb’
Phraseologism: ‘I was at the end of my tether’,’ make a clean breast of it’
Hyperbola: ‘I`m making a mountain out of a mole-hill’

The subject of our study is metaphor, so we should consider this stylistic device in more detail.

3. Metaphors as a means of expressive speech in the story by U.S. Maugham "Due to Circumstances"

3.1. Definition of metaphor

A metaphor is a word or expression used figuratively. The basis of a metaphor is the comparison of one object with another based on their common feature. This technique is used by writers to create images that help the reader more fully immerse themselves in the atmosphere of the work. The author encourages you to feel what is written with your heart and soul as opposed to a reasonable and rational understanding of the words read. In other words, metaphors allow the imagination to go beyond the strict boundaries of the written text.

Metaphor is the most powerful means of imagery - the relationship of reality to its vision by the author. A metaphor is obtained as a result of creativity against the background of a whole text about a person and his aspirations, nature, history, mythology.

Aristotle was the first to consider the concept of metaphor in his works. In classical rhetoric, metaphor was presented mainly as a deviation from the norm - the transfer of the name of one object to another

Classification of metaphors

In the history of linguistics, there have been several interpretations of the issue of classification of metaphors. Various researchers have identified them into certain types, developed various approaches and criteria, in accordance with which they then distributed metaphors into different classes.

The classification of metaphors in the British tradition is as follows.

A simple metaphor

A simple metaphor is expressed in one way, but it is not necessarily one-word:

“the eye of heaven” – the eye of heaven (as the name of the sun)

It can be single-term or two-term.

Hyperbolic metaphor

Traditional metaphor

Traditional metaphors are metaphors that are generally accepted in any period or in any literary direction. Thus, English poets, describing the appearance of beauties, widely used such traditional, constant metaphorical epithets as

pearly teeth - pearl teeth
coral lips – coral lips
hair of golden wire - hair made of golden wire

Compositional (plot) metaphor

Of particular interest is the compositional or plot metaphor, which can extend to the entire novel. Compositional metaphor is a metaphor realized at the text level. As a compositional metaphor, one can cite many works of modern literature in which the theme is modern life, and imagery is created by contrasting it with mythological subjects (J. Joyce’s novel “Ulysses”, J. Updike’s novel “Centaur”)

Expanded metaphor

An expanded, or extended, metaphor consists of several metaphorically used words that create a single image, that is, from a number of interconnected and complementary simple metaphors that enhance the motivation of the image by re-connecting the same two plans and their parallel functioning:

“Lord of my love, to whom in vassalage

The merit hath my duty strongly knit,

To thee I send this written embassage,

Extended metaphors can be suggestive when, instead of the main image, accompanying ones are given. This type of metaphor is used when composing riddles:

I have no spur to prick the sides of my intent - I have no spurs to spur my intentions (speaking of a horse, a horse)

Examples of expanded (extended) metaphor

Metaphor	Semantic meaning
Come rain or shine	Come what may
She was the life and soul of the party	She was the life of the party
It’s a case of swings and roundabouts	You never know where you will find it or where you will lose it.
Making mistakes is part and parcel of growing up	Mistakes are part of growing up

Composite metaphor

Some compound nouns and adjectives are always metaphorical, i.e. do not mean the same as individually.

Examples of compound metaphor

Difference between metaphor and simile

When reading works of fiction, difficulties arise not in translating metaphors and comparisons, but in defining them. To simplify the explanation, we will use the following examples:

Life is a journey.

Life is like a journey.

Life is as eventful as a journey.

In English, the first example is a metaphor, while examples 2 and 3 are similes. It should be noted that comparison in English is usually indicated by the words “like” and “as”. In the case of metaphor, the author directly indicates the similarity of objects and phenomena using linking verbs.

Analysis of metaphors in the story “Due to Circumstances”

For clarity, we will use a table in which we classify all metaphors. What was discovered in the story

Metaphor	Type of metaphor
a wave of emotional swept over her	hyperbolic
to come in that stealthy way	traditional
the sky was cheerful	traditional
water was deliciously refreshing	traditional
deathly white	traditional
The jungle was wrapped in the mystery of the approaching night	simple
darkness closed in upon them	hyperbolic
his quick ears had caught the footsteps	simple
his face was ashy	traditional
at their feet silent mysterious and fatal flowed the river	simple
eyes were cold and hostile	simple
her voice broke	simple
her features were all twisted and awry	simple
the darkness thinned away and the river was ghostly	simple
the dawn now was creeping along the river but the night was still hiding in the dark trees of the jungle	hyperbolic
in his mouth a slight drop of anxiety	simple

The metaphorical nature of S. Maugham's language makes the story exciting. The presence of imagery gives greater significance to the use of simple metaphors. The reader cannot help but be affected by the freshness and unusualness of metaphors not only when describing nature, but also in expressing deep emotional experiences.

During the research, I came to the conclusion that it is the variety of stylistic devices, their skillful alternation, combined with the amazing gift of a storyteller, a surprisingly sincere and unbiased narration that immerses the reader in the world of human passions.

Maugham's story takes up only 20 pages of printed text, but the plot and liveliness of the narrative make the reader greedily absorb every word, and, after reading to the end, think deeply. Maugham does not make any conclusions or comments about his characters: the reader himself comes to certain conclusions, and for each person they are of an exclusively personal nature. This is another stylistic feature of the works of W. S. Maugham.

Conclusion

Stylistic analysis of the text contributes to the ability to deeply understand and read thoughtfully fiction, which helps the comprehensive development of the individual and the formation of his spiritual world. Hypothesis that the work of W. S. Maugham could have been written without the use of metaphors and it would have been just as fascinating was not confirmed.

In the course of a stylistic analysis of William Somerset Maugham's story “By Circumstances,” we made the following conclusions:

Maugham's story “Due to Circumstances” is of great interest for stylistic analysis, as it contains many expressive means and stylistic devices.
In his story, Maugham most often uses such stylistic devices as metaphor and epithet. They express the inner world of the characters and make the story more expressive and imaginative.
The story also contains other expressive means, such as irony, repetition, phraseological units, etc.
The structure of a story consists of a beginning and development of action (development of the story), climax (climax) and denouement (denouement). There is no text exposure.

Bibliography

http://www.nytimes.com/2008/08/13/
http://www.worldwidewords.org
http://metaphors.com
http://ru.wikipedia.org/wiki/Maugham,_William_Somerset
http://www.babla.ru
http://dictionary.cambridge.org
Arnold I.V.. Stylistics. Modern English. Publishers: Flinta, Science, 2009
Ben A. Stylistics and theory of oral and written speech. M., 1886.
J. Lakoff, M. Johnson. Metaphors by which we live // Theory of metaphor. Per. N.V. Pertsova. M., 1990.
McCormack E. Cognitive theory of metaphor // Theory of metaphor. M., 1990
Somerset Maugham. Complete collection of stories in 5 volumes. – Publisher: Zakharov, 2002
Somerset Maugham. Stories. – M., 2001.
Schweitzer A.D. Translation theory: Status, problems, aspects. - M.: Nauka, 1988.
Shevyakova V.E. Modern English. - M.: Nauka, 1980.
Shakespeare. Sonnets (in English) Publisher: Siberian University Publishing House, 2006.
Oxford Dictionary and Thesaurus (Dictionary): Oxford University Press, 2007.
Oxford English Dictionary: Oxford University Press, 2012.

Applications

Annex 1

The most popular metaphors in English

Metaphor	Literal translation	Meaningful translation
His head was spinning with ideas	His head is full of ideas	Active person
Her home was a prison.	Her house is a real prison	Uncomfortable, gloomy room
She has a heart of gold.	She has a heart of gold	Generous, sincere, kind person
It is raining cats and dogs.	Rain of cats and dogs	It's pouring like buckets (idiom)
You had better pull your socks up.	You should wear socks	Improve your behavior due to the fact that it causes dissatisfaction with others
The noise is music to her ears.	Noise is music to her ears	When comparing the preferences of two or more people, you can use this phrase to counter the opinion of your opponent
You light up my life with your presence.	You light up my life by being present in it	The person whom the speaker loves, with whom he is truly happy
My memory is a little cloudy about that incident.	My memory is a little cloudy about this incident	The speaker does not accurately remember events occurring at the required point in time
Keep your eyes peeled.	Keep your eyes on the robbery	Search, examine, peer into something carefully
Take a moment to digest the info.	Take some time to organize the information	There is too much information received that needs to be understood
My brother was boiling mad.	My brother was hot-tempered and crazy	It is implied that he was very angry
The assignment was a breeze = It was a piece of cake	The task was in the wind	Implying that the task was very easy to complete
It's going to be clear skies from now on.	Clear skies above us	Nothing poses any threat
The skies of his future began to darken	The skies of his future begin to darken	Something bad might happen
Thoughts are a storm, unexpected	Thoughts are a storm, an unexpected storm	Thoughts, like storms, come when you least expect them.
Life is a journey	Life is a journey	The implication is that life always has its ups and downs, difficulties, successes and failures... just like any journey
Choices are crossroads	Elections are crossroads	When you are at a crossroads, there are several directions open to you, each leading to a different destination. It is up to you to choose a direction depending on your goal.
You"ve given me something to chew on	You give me something to think about	Implying that you have been given food for thought

Appendix 2

An excerpt from a newspaper article from The New York Times in which the author uses a metaphor in the title (illustrative role of metaphor)

About New York

Noise to You, but Music to Her Ears

By JIM DWYER

Published: August 12, 2008

“The last week of Susan Grossman’s deafness began with flashes of lightning and streaks of rain, a silent movie of a storm that she watched through windows. “I never realized,” Mrs. Grossman said, “how much I would like to hear thunder again.” Her plan for Tuesday was to hear again, after 40 years.

Mrs. Grossman, now 72, began losing her hearing when she was in her 30s, just as many of her relatives had. Her right ear went quickly; the hearing in her left ear ebbed. She learned to lip read without realizing it as she raised three children in Jamaica Estates, Queens, then moved on to a full schedule of volunteer work.

The hearing aids she wore grew stronger, but with decreasing effect. She followed the lips of her eight grandchildren, getting some of what they said, but felt their annoyance. At social gatherings, her husband, Bob, would pull people aside. “I’d tell them, ‘she’s not ignoring you,’” Mr. Grossman, a real estate developer, said.

They moved to the Upper East Side. Mr. Grossman canceled their Carnegie Hall subscriptions..."

Appendix 3.

The life and work of W. S. Maugham (Brief biography)

William Somerset Maugham was born on January 25, 1874 in Paris, the son of a lawyer at the British Embassy in France. As a child, Maugham spoke only French. He mastered English only after he was orphaned at age 10 and sent to live with relatives in the English town of Whitstable in Kent, six miles from Canterbury. Upon arrival in England, Maugham began to stutter. This feature remained for life.

Since William was brought up in the family of Henry Maugham, a vicar in Whitstable, he began his studies at the Royal School in Canterbury. Then he studied literature and philosophy at the University of Heidelberg - in Heidelberg Maugham wrote his first work - a biography of the composer Meyerbeer (when it was rejected by the publisher, Maugham burned the manuscript). Then he entered medical school (1892) at St. Thomas in London - this experience is reflected in Maugham's first novel, Lisa of Lambeth (1897). Maugham's first success in the field of literature came with the play Lady Frederick (1907).

During the First World War, S. Maugham collaborated with MI5 and was sent to Russia as an agent of British intelligence in order to prevent it from withdrawing from the war. Arrived there by ship from the USA, to Vladivostok. He was in Petrograd from August to November 1917, meeting several times with Alexander Kerensky, Boris Savinkov and other political figures. Left Russia due to the failure of his mission (October Revolution) through Sweden.

After the war, Maugham continued his successful career as a playwright, writing the plays The Circle (1921) and Sheppey (1933). Maugham's novels were also successful - "The Burden of Human Passions" (1915) - an almost autobiographical novel, "The Moon and a Penny" (1919), "Pies and Beer" (1930), "Theater" (1937), "The Razor's Edge" (1944 ).

In July 1919, Maugham, in pursuit of new impressions, went to China, and later to Malaysia, which gave him material for two collections of stories.

Appendix 4.

Questionnaire

The survey included 10 people from grades 9 and 10 at private secondary school No. 1. The survey took place in 2 stages. Stage 1 (initial) took place before reading the workU.S. Maugham “Due to Circumstances”, the 2nd stage (final) was carried out after all respondents had read the work of W.S. Maugham “Due to Circumstances” and his stylistic analysis.

Stage 1 questions:

Stage 2 questions:

Have you read the work of U.S. Maugham's "Due to Circumstances"?
Do you know what a metaphor is?
Do you know what an epithet is?
Do you think that metaphor and epithet make a work attractive and imaginative?

Topic: “Maugham’s epithet (based on the novel “Pies and Beer”)

INTRODUCTION……………………………………………………………...…..2

CHAPTER I. LINGUISTIC NATURE OF THE EPITHET……….…..6

1. Essential characteristics of the epithet…………………………………..6

2. Definition of epithet…………………………………………………...….7

CHAPTER II. CLASSIFICATION OF EPITHETS………………………...…….9

1. Principles of classification of epithets……………………………………9

2. Linguistic and speech epithets…………………………………………...…..9

3. Structural types of epithet……………………………………………...10

4. Classification according to semantic principle………………………….14

Associated epithets…………………………………….14 Unassociated epithets………………………………….…14 Figurative epithets……………………………………………………..……15 Ugly epithets………………………………………….…24

CHAPTER III. EPITHETS IN MOEM'S LANGUAGE……………………………..…32

LIST OF SELECTED EPITHETS……………………………...….37

CONCLUSION……………………………………………………………...44

("1") REFERENCES………………………...46

LIST OF LITERATURE CITED………………………………………………………..47

LIST OF DICTIONARIES USED…………………………….48

INTRODUCTION

One of the most important tasks of linguistic stylistics at the present stage of its development is the study of the linguistic nature and functioning of individual stylistic devices in various functional styles of the literary language.

From the text of the novel with a volume of 170 pages, 135 epithets were selected using a continuous sampling method, which were distributed according to the corresponding structural and semantic types.

Maugham's novels are based on a tightly constructed plot, all its parts are proportionate. Their distinctive features are brevity (the only exception is “The Burden of Human Passions”) and simplicity. They are written without affectation; they do not contain fancy constructions, fanciful comparisons or epithets. The playwright's experience allowed him to appreciate the advantages of rapid plot development and make the novel lively and dramatic. This is precisely the secret of the entertaining nature of Maugham's prose.

The nature of creativity and its secrets constantly occupied Maugham. In art he saw a special world, opposed to bourgeois everyday life and decent vulgarity. He was interested in what the connection was between genius and villainy. Maugham was not entirely sure that these were “two incompatible things,” as Pushkin believed.

The writer has repeated more than once that the significance of a work of art depends on the scale of the personality of its creator. “The greater his talent, the more clearly expressed his individuality, the more fantastic the picture of life he painted.” The artist's personality is realized in his art, and it is judged by it.

In the sphere of Maugham's ideas, the eternal problem of beauty occupies a significant place. In his book Summing Up, he wrote: “I was looking for the meaning of the universe, and the only meaning I could find was the beauty created by man from time to time.”

("11") LIST OF REFERENCES USED

And “Stylistics of the English Language”, L., 1960. , “A Brief Dictionary of Literary Terms”, M., 1963. “Fundamentals of the Theory of Literature”, M., 1966. “Poetic Dictionary”, M., 1966. “Epithets in Creativity A. Daudet", Uch. Notes of the I MGIPIA, vol. 25, M. 1961. “Epithets in Martin Eden,” collection. “Issues of general and Romano-Germanic linguistics”, issue 2. Ufa., 1965. “Theory of Literature”, M., 1940. “Aesthetic and Artistic”, ed. MSU, M., 1965. Great Soviet Encyclopedia, vol. 39, M., 1956. “Essays on the stylistics of the English language”, M., 1958. Galperin I. R. “Stylistics”, M., 1981. “Lexicology of the modern English language” , M., 1959. “Issues of component analysis in vocabulary”, Institute of Languages, 1966, No. 5. “From notes on the theory of literature,” Kharkov, 1905. “On the issue of the epithet,” collection. “In Memory”, M., 1931. “Issues of the Theory of Literature”, L., 1928. “Text as an Object of Linguistic Research”, M., 1984. “Dictionary of Linguistic Terms”, M., 1973. “Meaning of the Word and Information” , Sat. “Theory of speech activity”, M., 1968. (“12”) “French stylistics”, M., 1965.

LIST OF REFERENCES CITED

W. Golding “Lord of the Flies”, Harmondsworth, 1967.

D. Galsworthy “The Owner” - J. Galsworthy “The Man of Property”, M., Progress Publishers, 1974.

Hansford Johnson “Decisive Summer” - P. Hansford Johnson “A summer to decide”, L., 1948.

D. Lawrence “Lady Chatterley’s Lover” - D. H. Lawrence “Sons and lovers”, L., 1924.

D. Lambert “He must so live” - D. Lambert “He must so live”, L., 1956.

A. Murdoch “Wild Rose” - I. Murdoch “An unofficial rose”, L., 1962.

J. B. Priestly “Bright day”, Edinburgh, 1951.

A. Sillitoe “The loneliness of the Long-distance runner”, L., 1959.

D. Story “This is the sporting life” - D. Story “This sporting life”, L., 1963.

W. Somerset Maugham “Cakes and ale”, M., Progress Publishers, 1980.

LIST OF DICTIONARIES USED

Large English-Russian Dictionary, edited, M., 1979. Longman Dictionary of Contemporary English, vol. I, II, M., “Russian language”, 1992.

Introduction…………………………………………………………….3

Literary stylistic analysis…………………..4

Stylistic analysis of language means……………………………..5

Linguistic features of the text……………….5

Structural and semantic features of the text………….8

Conclusion……………………………………………………..10

Bibliography………………………………………………………11

Appendix………………………………………………………..11

Introduction

Familiarity with examples of English prose and poetry, the ability to read and understand fiction in the unity of content and form contribute to the holistic development of personality, the formation of a person’s spiritual world, and the creation of conditions for the formation of his internal need for continuous improvement and the realization of his creative potential.

In this regard, it is necessary to pay great attention to developing a deep understanding of a work of art and instilling the skills of its independent analysis.

William Somerset Maugham is one of the best foreign writers. The stylistic aspect of S. Maugham's work is an insufficiently studied area. Among the many wonderful works of S. Maugham, I chose the story “Rain” (original), since this story is a striking example of the author’s use of expressive means and stylistic devices.

Expressive means are used to enhance the expressiveness of the statement; their skillful use testifies to the skill and talent of the writer.

The object of the study is an excerpt from the story “Rain” by William Somerset Maugham in the original (see appendix).

The subject of the study is linguistic-stylistic and structural-semantic means in an excerpt from the story “Rain” by S. Maugham (appendix).

The purpose of the study is to conduct a stylistic analysis of an excerpt from the story “Rain” by S. Maugham.

Consideration of the essence of stylistic text analysis;

Determination of the functional characteristics of visual and expressive means;

Conducting a stylistic analysis of S. Maugham’s story “Rain”.

To solve the problems, research methods were used - analysis of educational literature, analysis of dictionary definitions, contextual analysis.

The practical significance of this work lies in the fact that the work can serve as theoretical and practical material when studying the stylistic aspect of S. Maugham’s work, as well as when interpreting the English text.

This work consists of an introduction, two chapters, a conclusion, a glossary, a bibliography and an appendix.

Literary stylistic analysis

William Somerset Maugham's short story "The Rain" was written in 1921. This short story was published in the April 1921 issue of the New York magazine "Smart Set" under the title "Miss Thompson." Included by the author in the collection “Trembling of the Leaf”, where it received the name “Rain” that stuck to it. The novella takes place immediately after the First World War.

The main idea of the story is to attack religion. Maugham laughs about the missionaries and their ideas and the idea of religion. It shows the real soul of the missionary of that time. Let's consider how Maugham's work is connected with time.

In 1917, Maugham was sent by British intelligence to Russia, to Petrograd, where he took part in a mission that was obviously doomed to failure, trying to prevent the Bolsheviks from coming to power. Subsequently, the writer spoke somewhat ironically about his activities at this time. In Maugham's worldview after 1917 there was some shift. Most of Maugham's works are permeated by a sense of trouble in the social structure of modern Western civilization. This is the social-critical tendency in his work, but it is complicated, limited, infringed, and sometimes crossed out by apoliticality, the concept of human loneliness and the idea of denying the meaning of life. The contradictions in Maugham's creative method are explained by the complexity of his worldview, in which uncompromising criticism of the foundations of morality, the decline of art and other social phenomena in bourgeois society coexists with conciliation, the rebellious rejection of the philistinism is adjacent to the philistine withdrawal from politics in the field of artistic creativity, and the position of aristocratic contempt for the bourgeois commercialism is combined with the bourgeois idea of the struggle for existence.

In many of his works, Maugham depicted complex life conflicts, which, as a rule, turn out to be insoluble and only bring suffering to people. Maugham did not ignore the pressing problems of war and peace, colonial policy, interpreting them in the spirit of humanism.

All this points to a clear connection between creativity and the literary movements of critical realism and naturalism.

Stylistic analysis of language means

Linguistic features of the text

In terms of integrity, this excerpt of the story (see appendix) consists of three parts. The first half of the paragraph is a description of nature (beaches, hills, trees), the second half is a description of Miss Davidson and the third part is a dialogue between Miss Davidson and Mr. McPhail.

Upon completion: the title of the story Rain is a symbol of rain. This symbol accompanies the reader throughout the story.

This text is characterized by absolute anthropocentricity, since the text is based on three centers: the author - the creator of the text; characters - images of the text, which are people; the reader acting as a “co-creator” of the text. Also, the text is inherently sociological - this is, on the one hand, its connection with a certain time, era, social structure of society, and on the other, the ability to independently perform social functions.

In terms of the degree of static - dynamic, the text in this passage is dynamic. Many verbs of motion are used.

Taken as a whole, there is tension as a result of the conflict between the missionaries and Miss Thompson. Many literary texts are characterized by a movement towards such a conclusion, the anticipation of which adds tension to the perception of the text.

Imagery is characteristic of any literary text: metaphors (“he looked at it with greedy eyes”), expressive vocabulary (terribly difficult place) and a fairly large set of suffixes that serve to express emotions, characteristics, assessments (facetiously). Let's look at the features of the above passage.

The metaphor “greedy eyes” means the doctor’s love for land, for a hard surface. The doctor also relates to smart, sincere and good-natured people like Miss Thompson.

The epithets “silver beach” and “luxuriant vegetation” vividly characterize the beauty of the wild nature landscape.

Epithets “prominent blue eyes”, “her voice, metallic”, “hard monotony”, metaphor “clamor of drill” and comparisons “her face was long, like a sheep’s”, “it fell like pitiless clamour”. These paths show the author's attitude towards Mrs. Davidson - an insincere soul and incapable of understanding other people, a heart that is cruel to Miss Thompson. Mrs. Davidson is a missionary. The phrase “we make the place so hot for them” she said only confirms this.

The metaphor “thin difficult smile” is the doctor’s forced smile. Maugham himself attended medical school at the hospital and here the author takes the position of Dr. MacPhail.

All these paths show the author’s attitude towards nature: his passion for the beautiful wild nature of the islands being developed, his dislike for religion and missionary work. The author took the position of people with a heart, with a kind soul. Therefore, in the confrontation between Mr. Davidson and Miss Thompson, the girl prevailed.

Greedy (suffix -y) – greedy, gluttonous.

Gleaming (suffix -ing) - churches shone brightly: the main symbol of religion, missionary work - the most important priority in the colonization of the island. The churches stand out against the beautiful, wild nature of the island.

Elaborately arranged (suffix -ly) – here is the hidden irony of the author “perfection itself” - the hair is arranged perfectly. She's not very good with everything else: face, voice, phrases.

Foolishness, alertness (stupidity, alertness, suffix -ness). Mrs. Davidson is a smart, cunning woman who will never commit a stupid, reckless act.

Facetiously (jokingly, suffix -ly). Dr. McPhail, when communicating with this woman, behaves easily and at ease. This shows that he is also a smart person.

Thus, it is indicated that the Davidson missionaries are very smart, well-educated people, but they are people without a soul, with clear calculations, and selfish people. But Dr. McPhail is a sensitive person, he is very close to Miss Thompson in character.

Structural and semantic features of the text

Syntactic style:

The sentences in the passage are mostly common and complex. The sentences are complicated by introductory words “of course” and introductory constructions “you know”. Impersonal offer (Coral.).

There was a thin strip of silver beach rising quickly to hills covered to the top with luxuriant vegetation – syllepsis. In this case, a construction with heterogeneous connections of subordinate elements (rising... and covered...) with a common subordinating word strip.

And here and there glaming white, a little church - the repetition of the word and and the sound “ere” expresses the expressiveness and emotional impact of many churches on the reader. The author shows that religion is developing quite quickly even on a sparsely inhabited island.

Functional style:

In general, this passage belongs to the substyle of artistic prose, in which there is a synthesis of literary-bookish and familiar-colloquial means of language.

The speech of the characters is a familiar colloquial style.

Conclusion

In the course of a stylistic analysis of an excerpt from William Somerset Maugham’s story “Rain,” I made the following conclusions:

1. Maugham’s story “Rain” is of great interest for stylistic analysis, as it contains many expressive means and stylistic devices.

2. In his story, Maugham most often uses such stylistic devices as irony and epithet. They express the inner world of the characters and make the story more expressive and imaginative.

3. The story also contains other means of expression, such as comparison, metaphor, repetition and phraseological units.

4. The structure of the story consists of a beginning, climax and denouement. There is no text exposition.

All the characters are very accurately drawn. Maugham's characters are incredibly memorable. I like how he highlights flaws in appearance - it makes the characters special. Images from the stories are vividly reflected in the imagination. Maugham knows how to make descriptions lively and not boring.

Glossary

pince-nez - pince-nez. Word of French origin

steamer - steamer

naval - naval

Thesis

Guzikova, Valentina Viktorovna

Academic degree:

Candidate of Philology

Place of thesis defense:

Ekaterinburg

HAC specialty code:

Speciality:

Comparative-historical, typological and comparative linguistics

Number of pages:

Chapter 1. Theoretical foundations of the study linguoculturological specifics of phraseological units in S. Maugham's prose

§ 1. Phraseologisms as functional units of language and speech

§ 2. Phraseologism as a special type of nominative units of the lexical system of a language

§ 3. Stylistic classification of phraseological units

§ 4. Linguistic and cultural classification of phraseological units 58 Conclusions on the first chapter

Chapter 2. Phraseological units as representatives of linguocultural information in the works of S. Maugham

§ 1. National and cultural components in the semantics of phraseological units

§ 2. National and cultural specificity of English phraseology

§ 3. Interlingual differences in phraseological units 104 Conclusions on the second chapter

Chapter 3. Comparative study of phraseological units in the prose of S. Maugham and its translations into Russian

§ 1. The problem of the translation unit in phraseological aspect

§ 2. Comparative analysis of phraseological units in the prose of S. Maugham and its translations into Russian

§ 3. National-cultural differential of the denotative nature of phraseological units in the prose of S. Maugham and its translations into Russian 157 Conclusions on the third chapter 166 Conclusion 168 List of abbreviations 173 Bibliography 174 Literature 174 Dictionaries and reference books

Sources

Introduction of the dissertation (part of the abstract) On the topic "Linguocultural specificity of phraseological units of the English language: Based on the prose of S. Maugham and its translations into Russian"

This study is the result of work carried out by the author at the Department of Modern Russian Language of the Ural State University. A. M. Gorky within the framework of a number of collective topics under the general guidance of Doctor of Philology, Professor L. G. Babenko.

The dissertation is devoted to the study linguoculturological specifics of phraseological units of the English language based on the prose of S. Maugham and its translations into Russian.

Problems of phraseology are traditionally the focus of attention of linguists, who express various judgments regarding the criteria for determining a phraseological unit, the status of a phraseological unit, the characteristics of systemic relationships in phraseology, etc. The number of concepts in linguistics is so great that some linguists involuntarily lose faith in the possibility of finding a way out from the current situation, and some linguists (especially among neophraseologists) are even inclined to question the very idea of combining various types of set expressions in phraseology. The criteria for determining a phraseological unit in the Russian language are, in various combinations, stability, integrity of meaning that is not derived from the sum of the meanings of its constituent words, separateness, possibility of structural variants or neoplasms, reproducibility, word equivalence, untranslatability into other languages. In general, a phraseological unit is characterized as “a combination of words with a figurative meaning”, as “ set phrase», « as a stable verbal complex" In phraseological units, researchers find metaphorical, figurative, expressive and emotional connotations, etc.

A variety of terms are used to designate a phraseological unit as a unit of language: phraseological expression, phraseological unit, phraseological figure of speech, stable combination of words, stable phrase, idiomatic combination, phraseological unit, idiom, idiom, phraseme, etc.

Selection phraseological meaning makes it possible to establish its main varieties: idiomatic meaning, idiomatic meaning and phraseological meaning in accordance with three classes of phraseological units (idioms, idiomatics and phraseomatics). These values are included in phraseological microcircuit of the language and make it possible to distinguish their varieties in accordance with the structural and semantic features of phraseological units included in each class.

The term " phraseological meaning"was proposed by two authors independently of each other (Arkhangelsky 1964; Kunin 1964). Justification of phraseological meaning as linguistic categories are complicated by the fact that there are different understandings phraseological unit, its component composition and the volume of phraseology. Establishing the status of phraseological meaning is an extremely difficult task. When considering this issue, this study takes into account the experience of a number of scientists who studied the problem of phraseological meaning (V. J. Arkhangelsky (1964), S. G. Gavrin (1974), V. P. Zhukov (1986), A. M. Kaplunenko ( 1978), A. M. Melerovich (1979), etc.).

The main working terms of the proposed dissertation work are the terms phraseology(or idiomaticity), phraseology and types phraseological units. Idiomaticity is understood as a sign of a linguistic unit, which consists in the semantic indecomposability of a phraseological unit in general.

A phraseological unit is a phrase reproduced in speech, modeled on coordinating or subordinating phrases (non-predicative or predicative in nature), having a holistic (or less often, partially holistic) meaning and combined with a word.

Such an understanding of the central categories of research would be impossible without systematization of existing knowledge in this area (N. N. Amosova (1963), V. L. Arkhangelsky (1964), A. M. Babkin (1970), V. V. Vinogradov ( 1947), V. P. Zhukov (1986), A. V. Kunin (1972), A. I. Molotkov (1977), A. G. Nazaryan (1974), R. N. Popov (1976), L. I. Roizenzon (1973), A. I. Smirnitsky

1954), V. N. Telia (1996), I. I. Chernysheva (1970), N. M. Shansky (1969), D. N. Shmelev (1970), etc.).

The distinction between types of phraseological units depends on the theoretical space in which the object itself is modeled, what properties saturate the criteria of idiomaticity and reproducibility, since the principle of identifying the volume of phraseology and those features on the basis of which the properties are determined depends on this phraseology. In this regard, it is appropriate to quote the words of D.N. Shmelev, who, discussing the state of affairs in phraseology that had developed by the mid-70s. (i.e. the end of its “classical” period), wrote: “The strangest impression is produced, however, not even by the discrepancy in terminology, but by the fact that “phraseology” is understood by some researchers as something given in itself in the language and in their exact boundaries. In this regard, some researchers recognize as “incorrect” the inclusion of certain categories of phrases in phraseology (or, conversely, the exclusion of certain types of phrases from it) only on the basis that their ideas about phraseology do not coincide with another idea, in accordance with which such and such phrases are recognized or not recognized phraseological units"(D.N. Shmelev, 1973).

Scientists constantly turn to the description of units of the phraseological composition of the language. It should be noted the monograph by V. N. Telia “Russian phraseology. Semantic, pragmatic and linguistic-urological aspects” (1996). The model of the meaning of phraseological units developed in the book allows us to shed new light on their role in the language as signs - microtexts. Particular attention is paid to the linguoculturological analysis of the cultural and national connotation of phraseological units - their ability to serve as standards and stereotypes of the everyday mentality of the Russian people and, on this basis, to play the role of cultural signs.

Idiomatic phraseology is widely used in fiction. The question of how to study idiomatic phraseology as part of verbal and artistic creativity is complex. In literary works, speech differs significantly from both scientific and everyday speech, and serves to create a certain emotional and artistic impact.

The speech of literary characters, as a rule, is stylized and is characterized by a special selection of words and expressions, which in turn are means of artistic depiction of the protagonist of a literary work.

As you know, stylization involves imitation of the manner or style of speech typical of a given social environment or era. As V.V. Vinogradov pointed out, “fiction provides an aesthetically transformed reflection and reproduction of the “speech life” of the people in accordance with the socially determined aesthetic and ideological directions and methods of creativity that dominate it in a given period” (Vinogradov, 1971).

The research material included 20 novels and 35 stories by the greatest English writer of the 20th century. Somerset Maugham and their translations into Russian. The novels “Theater”, “The Moon and a Penny”, “Catalina”, “ Pies and beer or Skeleton in the closet», « The burden of human passions", "Razor's Edge", " Christmas Holidays"", "Villa on the Hill", "Patterned Veil", "Mrs. Craddock", "Then and Now", "Small Corner", etc., as well as short stories "Jane", "Breakfast", "Mr. Know-It-All", " A friend in need is a friend indeed", "Salvatore", "Trough", "Louise", "Beggar", " A man who had a conscience», « In public service", "Unconquered", "Exactly a Dozen", "Mackintosh", " Dragonfly and ant», « Mr. Harringgon's underwear», « Having tasted nirvana", "Rain", "Backwater", " Source of inspiration", "Vessel of Wrath", "Lord Mountdrago", etc.

The relevance of the dissertation research is due to the fact that consideration of the national and cultural specifics of phraseological semantics on the basis of a comparative linguistic analysis of phraseological units allows us to more clearly see the uniqueness of English phraseology, its connection with the history of the people, its traditions and national character.

The dissertation uses a comprehensive analysis of phraseology in semantic, denotative and cultural aspects, which corresponds to the general tendency of modern linguistics towards polyparadigmatic research.

The dissertation examined phraseological units as a means of forming a national linguistic and cultural picture of the world; the national-cultural component of the semantics of phraseological units in S. Maugham’s prose has been identified and described, the specifics of their translation into Russian and the presence of analogues in the Russian language have been studied. Such research not only enriches the theory and practice of phraseology with new ideas, but also contributes to the development of a methodology for the functional analysis of phraseological units in language and text.

Purpose and objectives of the study

The main goal of the dissertation research is to identify the linguocultural specificity of the semantics and denotative meanings of English phraseological units in the process of their functioning in a literary text and to consider the features of the translation of phraseological units with a linguoculturological component.

Taking into account the comprehensive (in a qualitative and quantitative sense) analysis of phraseological units in S. Maugham’s prose, their translations into Russian, as well as their analogues in the Russian language, we have identified a range of tasks, the solution of which is necessary to achieve the specified research goal:

1. Theoretical study of phraseological units as a means of creating a national linguistic and cultural picture of the world.

2. Identification of the national-cultural specificity of the semantics of phraseological units in the prose of S. Maugham and their analogues in the Russian language.

3. Implementation comparative analysis of phraseological units in S. Maugham’s prose and its translations into Russian.

4. Identification of the national-cultural differential of the denotative nature of phraseological units in the prose of S. Maugham and its translations into Russian; establishing the degrees of semantic, stylistic and national-cultural adequacy of the translation of phraseological units into Russian to the English original.

All of the above tasks were subordinated to a single super-task - identifying the zone of intersection and discrepancy in the national-cultural semantics of the phraseology of the Russian and English languages.

The object of a comprehensive, comparative analysis was the units of the lexical, semantic and denotative spaces of Russian and English phraseology (within the framework of S. Maugham’s literary texts and their translations).

The subject of the dissertation research was the functional and national-cultural aspects of the semantics of phraseological units in the prose of S. Maugham, their translations and their analogues in the Russian language.

Methodology for collecting materials, the basic model of its analysis and research methods

The method of identifying material is a continuous selection of phraseological units from the prose texts of the English writer S. Maugham.

In the dissertation, a comprehensive analysis of phraseological units consists of several stages:

1. Description of phraseology as a fragment of the image of the linguistic picture of the world, as well as the national-cultural component of phraseology in the interlingual aspect.

2. Comparative lexical, semantic and denotative analysis of the meanings of phraseological units in the prose of S. Maugham and its translations into Russian.

3. Establishing the degree of adequacy of the translation of phraseological units to the English original.

A comprehensive, comparative analysis of phraseological units also included the following methods linguistic research of phraseological units:

Component analysis;

- contextological analysis;

Lexico-semantic analysis;

Denotative analysis;

- linguoculturological analysis.

The study of phraseological units in S. Maugham's prose, their translations and analogues in the Russian language ended with the identification of the denotative-subject differential of English and Russian phraseology (within the works of S. Maugham).

The theoretical significance of the dissertation research lies in its concrete contribution to the development of the theoretical foundations for the classification of phraseological units as special units of language and literary text using the principle of a multidimensional description of phraseology. The dissertation develops a concept for studying the linguistic and cultural picture of the world based on a description of the national and cultural features of the semantics of phraseological units in an English text, taking into account the specifics of translation and their analogues in the Russian language.

The dissertation provides new data clarifying the degree of national-cultural adequacy of the translation of phraseological units to the English original. The dissertation introduces and defines the term “national-cultural differential,” denoting the differential zone of the denotative space of English and Russian phraseological units.

The novelty of the dissertation research lies in the expansion of aspects and materials of research into the functioning of phraseological units in language and text. For the first time, the complex analysis of phraseological units took into account the specifics of the semantic and denotative space of phraseology. New theoretical data present in the dissertation contribute to the successful solution of the problem of translating phraseological units from English into Russian.

The novelty of the dissertation also lies in the adequate use of the paradigm category in the analysis of the classification of phraseological units, as well as the categories of the picture of the world and the national-cultural differential in the process of comparative analysis of the semantic, denotative space of English and Russian phraseology (in the scope of texts by S. Maugham).

In the course of the study, new information was obtained about the interaction of the semantic and denotative space of phraseology, as well as the presence of a national-cultural differential, the denotative nature of phraseological units in S. Maugham’s prose and their translation into Russian.

The dissertation developed a new model for linguistic analysis of phraseological units functioning in various languages and texts.

The practical value of the study is determined by the possibility of using its results in the practice of further scientific research in the field of phraseology, as well as in the practice of translation and in preparing lexicographical materials and methodological publications for specialists in Russian and English languages.

The results of the study can be used in the development of theoretical courses on phraseology (topics: the functioning of phraseological units in a literary text; phraseological paradigmatics and syntagmatics in literary text, etc.); By linguistic text analysis v topics: analysis of phraseological units of literary text; complex analysis of literary text; comparative analysis of the semantic and denotative space of English and Russian phraseology, etc.).

Some results of the research have already been implemented. For example, lectures and seminars on linguistics, translation theory, lexicology, history of the English language, and stylistics were given and conducted by the author for a number of years at the department of referent-translators at the Department of Foreign Languages of the Ural State University. A. M. Gorky.

Approbation of work. The dissertation was discussed at the Department of Modern Russian Language of the Ural State University. A. M. Gorky. The main theoretical principles and practical results were presented by the author at 5 conferences in Yekaterinburg (1998,2001,2002,2004) and Perm (2000).

1. Guzikova V.V. Cognitive potential of phraseological units and features of their translation (based on the prose of S. Maugham) // Current problems of linguistics: Ural linguistic readings-2004 (No. 17): Materials of the annual regional scientific conference, Ekaterinburg, February 2-3, 2004 / Ural. state ped. univ. - Ekaterinburg, 2004. pp. 39-40.

2. Guzikova V.V. Cognitive foundations of interlingual differences in the translation of phraseological units (based on the prose of S. Maugham) // Linguistic and methodological readings: Materials of the regional interuniversity scientific and methodological conference. Ekaterinburg: Ural Publishing House. state econ. Univ., 2004. pp. 68-73.

3. Guzikova V.V. Phraseological units in the dictionary and in the text (based on the prose of S. Maugham) // Russian linguistic personality in the mirror of lexicography: Materials of the XII Kuznetsov readings, February 6, 2002, Yekaterinburg. Ekaterinburg: Ural Publishing House, University, 2002. P. 12-19.

4. Guzikova V.V., Kazarin Yu.V. Phraseologism as a means of forming a national artistic picture of the world // Semantic-syntactic space of the Russian verb: Materials of the XI Kuznetsov readings, February 7, 2001, Yekaterinburg. Ekaterinburg: Ural Publishing House, University, 2001. P. 10-16.

5. Guzikova V.V. The role of phraseological units in the field of intercultural communication: Interuniversity. Sat. scientific tr. / Perm. state University; Editorial committee: Dvinyaninova G.S. et al. - Perm, 1999. P. 25-28.

6. Guzikova V.V. National-cultural component of idioms and its translation into Russian (based on English literature) // Denotative space of the Russian verb: Materials of the IX Kuznetsov Readings, February 5-7, 1998, Yekaterinburg. Ekaterinburg: Ural Publishing House, University, 1998. pp. 36-39.

Provisions to be defended:

1. The highest degree of linguocultural information in S. Maugham’s prose is distinguished by: phraseological units reflecting the traditions and customs of the English people; Phrases related to English realities; Phrase phrases containing proper names; Phrases associated with English beliefs; Phrases related to facts from the history of Great Britain; Phrases taken from fables, fairy tales, games; Phrase phraseological units associated with English legends; Phrases of literary origin, including Shakespeareanisms and Biblicalisms.

2. An analysis of phraseological units in the works of S. Maugham as a source of cultural information shows that phraseological units are an important means of creating the national character of a character in the prose of the specified writer.

3. In English, higher activity in phrase formation than in Russian is dominated by such holistic meanings as honesty, caution, hard work, professionalism, responsibility, restraint in speech, frugality, optimism, selfishness, personal freedom, conservatism, material well-being , closed family life.

4. When comparing the prose of S. Maugham and its translations into Russian, a high degree of stylistic, semantic and subject-denotative adequacy of the phraseological unit in the original text and its translation is observed.

5. The model of complex linguocultural analysis of phraseological units developed in the dissertation allows us to fairly objectively compare English phraseological units and their analogues in the Russian language.

6. In the three-dimensional space of English and Russian phraseology (within the framework of the literary texts under study), a single semantic / semantic space is observed, which is formed and expressed by units of lexical and denotative space of English and Russian phraseology that do not coincide with each other, which allows for an adequate translation of English phraseological units into Russian language.

Structure of the dissertation research

The goals and objectives outlined above, as well as the need for a multidimensional consideration of the functioning of phraseological units, the problems of their translation and the need for a comparative analysis of the subject-denotative semantics of English and Russian phraseology, determined the structure of the dissertation, which includes an introduction, three chapters and a conclusion.

Conclusion of the dissertation on the topic "Comparative-historical, typological and comparative linguistics", Guzikova, Valentina Viktorovna

Conclusions on the third chapter

1. The material reviewed indicates that in modern translation studies The unit of translation is not only and not so much the phraseological unit itself, but the phraseological unit used in a certain context, in the corresponding active sense.

2. During the research process, the following model of linguistic comparative analysis of phraseological units was created:

Establishment contextological values of the FU-original;

Establishing the contextological meaning of PU translation;

Comparison of the volumes of expression of phraseological units in the original and in translation;

Denotative comparison of the contextological meaning of the original phraseological units and the contextological meaning of the translation.

3. Analysis of the denotative semantics of the original PU and its analogue in the Russian language made it possible to identify pairs (in the form of verbal oppositions), supporting denotations included in the denotative situations of the original PU and PU-analog in the Russian language (since the translation of the original and PU-analog in Russian they express meaning and situation synonymous character, the features of the denotative semantics of the original PU, and not the PU translation and PU analogue in the Russian language were taken into account).

4. Comparative analysis of the denotative situations of the original PU, PU translation and their analogue in the Russian language revealed denotative (lexical pairs), the comparative analysis of which allows, firstly, to establish their thematic features, and secondly, to determine the subject-denotative differential of the original PU and its analogue in Russian.

5. Comprehensive, comparative A study of over 3000 denotative situations depicted by PU analogues in the Russian language showed that, in general, these situations belong to the same spheres of the denotative space of the English and Russian languages, among which the most widely represented are the zoosphere, phytosphere, and sociosphere.

6. A comparative study of phraseological units in the prose of S. Maugham, taking into account the lexical, semantic and denotative space, showed that in the three-dimensional space of English and Russian phraseology there is a single semantic / semantic space, which is formed and expressed by units of lexical and denotative space of English and Russian that do not coincide with each other. Russian phraseology, which reveals the obvious specificity of the national-cultural component phraseological semantics, fixed in the subject-denotative zone of differentiation of two different languages and cultures.

CONCLUSION

Identification of the linguocultural specificity of phraseological units in the prose of S. Maugham becomes possible in the process of comprehensive, comparative research. The work carried out theoretical and practical research phraseological units as a means of creating a national linguistic and cultural picture of the world, as well as a description of phraseology as an accumulator and custodian of cultural information. The national and cultural specificity of the semantics of phraseological units in the prose of S. Maugham, their translations into Russian and their analogues in the Russian language has been discovered. A comparative analysis of phraseological units in the works of this writer and their translations into Russian was carried out. In the process of dissertation research, a national-cultural differential was identified in the denotative nature of phraseological units in S. Maugham’s prose and their translations of formal-grammatical, semantic, stylistic and national-cultural adequacy of the translation of phraseological units into Russian to the English original.

Based on the definitions of phraseological units given by V. JI. Arkhangelsky, V.V. Vinogradov, A.V. Kunin, A.I. Molotkov, V.N. Telia, N.M. Shansky, D.N. Shmelev and others, our study uses the following definition of a phraseological unit: phraseological unit is a stable combination of verbal signs existing in the lexical system of a language at a given stage of its historical development, characterized by extremeness, integrity, idiomaticity, reproducibility and consisting of a minimum of two lexical units, united by paradigmatic, syntagmatic and derivational coherence, expressing a holistic lexical meaning, functioning in constant grammatical organi-. called sequence and are stable in relation to the signified and characterized.

The phraseological unit as a complex unit of the lexical level of language is considered by the author of the dissertation in the following aspects: semantic, functional, sociological and cultural. Taking into account aspects of the origin, existence and functioning of phraseological units containing national-cultural components as part of their semantics allows us to identify the following types of phraseological units:

1) phraseological units reflecting the traditions and customs of the English people;

2) phraseological units associated with English realities;

4) phraseological units associated with English beliefs;

5) phraseological units related to facts from the history of Great Britain;

6) phraseological units taken from fables, fairy tales, games;

7) phraseological units associated with English legends;

8) phraseological units of literary origin, including Shakespeareanisms;

9) biblicalisms.

The identification of phraseological units in S. Maugham's prose shows that the English writer widely uses in his works phraseological units associated with English realities (405 examples), historical facts (342 expressions), traditions and customs (167 expressions), etc.

An analysis of the types of phraseological units found that phraseological the English and Russian language systems are comparable in stylistic and linguocultural aspects.

In most phraseological units used by this author in his prose, there are “traces” of national culture, which are revealed in many cases when translated from English into Russian. Cultural information is stored in the internal form of phraseological units, which, being a figurative representation of the world, gives a phraseological unit a cultural and national flavor. Within linguoculturological The analysis reveals ways of embodying cultural elements in the content of phraseological units-idioms and phraseological combinations (based on the literary texts of S. Maugham), as well as determining the meaning of their cultural and national connotations, thanks to which phraseological units in the processes of their use reproduce the characterological features of the national mentality.

A linguistic-comparative analysis of 3000 phraseological units and their translations showed that the relationship between the original and translation units in their various aspects reveals a certain degree of adequacy of these units in the semantic, contextological, formal-grammatical, stylistic, and most importantly in the national-cultural (subject-denotative) respect.

The analysis of the denotative semantics of over 3000 original phraseological units, their translation and their analogues in the Russian language allows us to establish zones of denotative overlap and denotative-subject differentiation of the semantics of the original phraseological units, its translation and its analogue in the Russian language. Complex linguistic analysis of the denotative semantics of phraseological units includes the following stages:

1. Component analysis of the lexical semantics of phraseological units.

2. Description of the empirical, connotative, background meaning of macrocomponents and the denotative part of the semantics of phraseological units.

3. Description of the denotative situation expressed by a phraseological unit, with the establishment of the supporting (central) denotation - the subject in the situation under study.

4. Comparative analysis of denotative situations expressed by the original phraseological unit, its literary translation (in a word, phrase, phraseological unit, phrase) and phraseological unit-analog in the Russian language.

5. Establishing a denotative-subject differential.

Analysis of the denotative semantics of the original phraseological unit and its analogue in the Russian language made it possible to identify pairs (in the form of verbal oppositions), supporting denotations included in the denotative situations of the original phraseological unit and the analogue phraseological unit in the Russian language (since the translation is of the original and the phraseological unit -analogs in the Russian language express the meaning and situation of a synonymous nature, we take into account primarily the features of the denotative semantics of the original phraseological unit, and not the translation phraseological unit and the analogue phraseological unit in the Russian language).

In the process of research, the mechanisms of influence of the cultural and human factor on the formation and functioning of phraseological units and, as a consequence of such influence, their acquisition of the function of standards and stereotypes of national culture, the culturally marked content of which is embodied in the cultural and national connotation of phraseological units, are identified and described. This latter is assimilated along with the mastery of language, imposes through a worldview reflected in the images of phraseological units characteristic of a given people, ordinary for linguocultural community cultural and national identity and contributes to its intergenerational transmission along with the use of language.

It is in line with the anthropological paradigm that a new direction appears in phraseology, which was outlined by the founder of modern Russian phraseology, Acad. V. V. Vinogradov.

A comparative analysis of the lexical, semantic and a number of spheres of denotative space revealed that in the three-dimensional space of English and Russian phraseology (within the framework of the literary texts under study) there is a single semantic / semantic space, which is formed and expressed by units of lexical and denotative space of English and Russian that do not coincide with each other phraseology. This phenomenon allows for an adequate translation of English phraseological units into Russian based on the specifics of the national-cultural component of phraseological semantics, manifested in the subject-denotative zone of differentiation of two different languages and cultures.

The prospects for this research are seen in the future ideographic and lexicographic description of phraseological units of English and Russian languages.

The materials of the work can be used in teaching English and Russian languages, as well as translation. The results of the study can find application in courses in lexicology, history of the English language, introduction to linguistics, linguoculturology, as well as in practical lexicography. The model of linguistic-comparative analysis of phraseological units proposed in the work can be used to create Russian-English phraseological dictionary, as well as methodological developments and manuals for teaching vocabulary and speech development.

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